Art and Design

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Chapter 5, Experiencing the Art Museum: Methods for Public Engagement:

Methods for interactive, socially engaged art museum experiences are explored. They examine the utility of developing larger, institutional philosophies to specific techniques via case studies at the U.C.L.A. Hammer Museum, the Oakland Museum of California, and the Walker Art Center. Employed by a spectrum of practitioners such as artists, designers, and museum professionals, these approaches created new avenues for interaction. Specifically, artists entering into visitor services to drive institutional evolution, techniques for engaging atypical visitors, and approaches for engaging with “the crowd” with ephemeral art movements.

DOI
This article looks at the interface between art, science, and design by considering the role of microscopes, the visualisation of microorganisms and British mid-nineteenth century design theories. In particular, it examines the dialogue between microscopical arranged slides that became popular in the second half of the century and the design theories of Owen Jones, diffused through the seminal Grammar of Ornament and the South Kensington system. Whereas the scientific observation of plants and their role in the development of guiding principles of ornament has attracted the attention of scholars, especially in relation to the Department of Science and Art, the intersections between the “microscope mania”, the material culture of microscopy, and design theories have been overlooked. Through the lenses of the microscope, a new world was revealed that potentially exposed general laws of harmony in form and colour. Coinciding with the emergence of microbial biology, the microscope was looked at as a tool for the renewal of the decorative arts. At the crossroads between art and science, the popular production of arranged slides both confirmed and performed the principles of ornament, at a time when both the visualisation of these principles and the transcription of microscopic observation shared common practices.

Abstract:
The Sacred Defense, an imperative historical event in Iranian civilization in the preceding century, has nowadays developed into one of the most significant cultural symbols of the society. This has led poets and writers to devote their creations to the formation of artworks with themes and concepts related to this phenomenon. This approach has led to the formation of an exceptional style in the works of such literary figures. A motif is a specific theme, character, or pattern that is repeated in various forms in literature and art. The Sacred Defense poetry, which was formed with the occurrence of the mentioned historical event in the sixties, led to the strengthening of Iranian identity and cultural fundamentals. These widely used cultural motifs represent the poetry of war with its own stylistic features that aid to identify commonalities in thought, culture, values ​​and beliefs of the nation. The issue raised in this paper is to study the effect of this particular style of poetry on the formation and creation of conceptual and visual motifs and its reflection in the posters of the Sacred Defense. This research is accomplished relying on descriptive and analytical methods and also on the collection of library data. The findings suggest that a number of the motifs seen in the poetry of this period are faced with lexical, visual and thematic repetitions; moreover, the thematic section includes concepts such as martyrdom, patriotism, the battle between right and wrong, love, and so on. Studies have shown that the unique motifs related to the poetry of the Sacred Defense bestow an emotional, aesthetic, guiding and prominent function on the content of the poem and the approaches of the audience; consequently, the poets of the Sacred Defense created their most intense artworks by emphasizing the mentioned elements in their poetry. Such concepts have caused the endurance of the values of the Sacred Defense in the history of Iranian literature and its presence for the future Therefore, the adoption of this poetic style has increased the role of conceptual and visual themes in the poetry of the Sacred Defense. The posters of this act are created in order to celebrate and spread the culture of this sacred event and are reproductions of its conceptual and visual motifs in literature.
Research aims:
1. To investigative the varieties of motifs and their elements in the poetry of the Sacred Defense.
2. To examine the motifs and elements of the Sacred Defense poetry in poster art.
Research questions:
1. What elements do the poems of Sacred Defense use in describing the values and beliefs of such act?
2. What is the reflection of the poems of Holy Defense in the posters of this event?
Keywords:
Contemporary Poetry;  Sacred Defense;  Motif;  Background;  Repetition;  Sacred Defense Posters.

JQRSS Qualitative Researcher Awards
Congratulations to the following researchers who have been recognised by the JQRSS Editorial Board for their outstanding research activities, scholarly conduct and valuable contribution to the journal.
Rachael Lear: Volume 1, Issue 1, (2007)
Lear, R. and Palmer, C. (2007) Is there life after playing football? Investigating the perspectives of football coaches at a club in the North West of England. Journal of Qualitative Research in Sports Studies, 1, 1, 19-32.
Paul Gow: Volume 2, Issue 1, (2008)
Gow, P. and Rookwood, J. (2008) Doing it for the team - examining the causes of contemporary English football hooliganism. Journal of Qualitative Research in Sports Studies, 2, 1, 71-82.
Keith McGregor: Volume 3, Issue 1, (2009)
McGregor, K. and Palmer, C. (2009) It’s not the falling I’m worried about it’s hitting the ground - investigating the fear of falling, comfort zones and camaraderie between extreme grade rock climbers. Journal of Qualitative Research in Sports Studies, 3, 1, 127-146.
Chris Hughes: Volume 4, Issue 1, (2010)
Hughes, C. and Palmer, C. (2010) Examining a coaching philosophy through ethnographic principles – Winter with Woolton. Journal of Qualitative Research in Sports Studies, 4, 1, 23-48.
Beki Price: Volume 5, Issue 1, (2011)
Price, B. and Varrall, S. (2011) Doing and representing qualitative research: a human perspective (Part 1: visual). Journal of Qualitative Research in Sports Studies, 5, 1, 59-86.
Price, B. and Gilbourne, D. (2011) Doing and representing qualitative research: a human perspective (Part 2: textual). Journal of Qualitative Research in Sports Studies, 5, 1, 87-100.
Sarah Nickless: Volume 6, Issue 1, (2012)
Nickless, S. and Palmer, C. (2012) Crawling through experience. Journal of Qualitative Research in Sports Studies, 6, 1, 1-12.
Joseph Pryle: Volume 7, Issue 1, (2013)
Pryle, J. and Palmer, C. (2013) Cricket provision in schools – is the system flawed? An ethnographic investigation. Journal of Qualitative Research in Sports Studies, 7, 1, 27-86.
Nicola Hamilton: Volume 8, Issue 1, (2014)
Hamilton, N. and Palmer, C. (2014) Learning to ride a bike-a qualitative study of cycling and the Bikeability programme. Journal of Qualitative Research in Sports Studies, 8, 1, 17-88.
Sheri Treadwell: Volume 9, Issue 1, (2015)
Sheri Treadwell and Jim Stiehl (2015) Advocating for change in rural Physical Education: a middle school perspective through Photovoice and student SHOWeD analysis. Journal of Qualitative Research in Sports Studies, 9, 1, 107-162.
James Edwards: Volume 10, Issue 1, (2016)
Edwards, J. and Palmer, C. (2016) Getting home. Journal of Qualitative Research in Sports Studies, 10, 1, 127-156.
David Grecic: Volume 11, Issue 1, (2017)
Grecic, D. (2017) Making sense of skill – a personal narrative of becoming more skilled at skill. Journal of Qualitative Research in Sports Studies, 11, 1, 33-48.
Carmen Byrne: Volume 12, Issue 1, (2018)
Byrne, C. and Palmer, C. (2018) Hero, heroine or outcast? A quest for understanding through critical dialogue: the Research Goddess and me. Journal of Qualitative Research in Sports Studies, 12, 1, 1-34.
Maksim Berdnikov: Volume 13, Issue 1, (2019)
Berdnikov, M. and Krieger, J. (2019) Education facilitators at youth mega-events: practical and methodological considerations. Journal of Qualitative Research in Sports Studies, 13, 1, 111-126.
Hazel Isaacs: Volume 14, Issue 1, (2020)
Isaacs, H. and Palmer, C. (2020) Let’s waste some time: an autoethnographic study of procrastination. Journal of Qualitative Research in Sports Studies, 14, 1, 1-48.
Susan Thomas: Volume 15, Issue 1, (2021)
Thomas, S. and Palmer, C. (2021) When nature and tech connect – a case for using Augmented Reality in the Outdoors. Journal of Qualitative Research in Sports Studies, 15, 1, 1-28.

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

When I tell friends and family that I make art about witches, no one seems surprised. As a child, I was obsessed with fantasy and magic, going out into the woods behind my house to look for evidence of unicorns, fairies, and dragons. I\\u27m reasonably sure I never found any, but that love has stayed with me to this day and is the most significant influence in my art. A second, but no less significant influence on my art is my fascination with history. My grandfather is a huge fan of the History Channel, and would frequently watch it in the evenings when I was young. I would sit with him and learn about the rise and fall of the Roman Empire; about the struggles of Boudicca and the Iceni people of the British Isles; about Ghengis Khan and Alexander the Great; and about the Malleus Maleficarum, and the 50,000 people burned to death because of it. As a young teenager, I dipped my toes into both the textile and digital arts. Digital, because I couldn’t not experiment with it, having grow...

O Encontro DAT – Design, Arte e Tecnologia, do Programa de Pós-Graduação em Design toda Universidade Anhembi Morumbi (UAM), tem por meta reunir pensadores de universidades nacionais e internacionais com
foco específico nos setores culturais e tecnológicos criativos que desenvolvam pesquisas, projetos, ideias, inovação e atividades empreendedoras. Explora o potencial de diluir as fronteiras entre design, arte
e tecnologia com referência específica para discutir a criatividade em design e tecnologia – examinando como a tecnologia digital é abordada pelos artistas e designers. O encontro busca também contribuir com discussões e
reflexões sobre como o Design e a Arte moldaram e moldam os valores, as estruturas sociais, as comunicações, o pensamento e a cultura. Envolve designers e artistas com seus trabalhos criativos, teóricos e práticos, para que apresentem novas perspectivas e  permitam entender mais sobre suas habilidades, processos, motivações e relacionamento com o mundo,
considerando a diversidade e a interdisciplinaridade destes trabalhos.

Das Design wird gerne als Paradebeispiel einer Gestaltung aufgefasst, die transformierend in natürliche wie soziale Wirklichkeiten eingreift, eine unmittelbare Umgestaltung der Wirklichkeit leistet, während künstlerischen Praktiken gerne – gerade in Entgegensetzung zum Design – eine vermitteltes Reflexionsverhältnis zur Wirklichkeit attestiert wird und weniger ein wirklichkeitsveränderndes Verhältnis. Ich versuchen zu zeigen, dass dem Design neben dieser transformierenden Seite auch eine Wirklichkeit reflektierende Seite zukommt und wie diese beiden Dimensionen des Designs zusammenhängen. Hierzu konzentriere ich mich auf Formen des Designs, die sich gegenwärtig durch die Betrachtung der Dinge nach ökologischen Gesichtspunkten entwickeln. Vor diesem Hintergrund mache ich schließlich einen kurzen Vorschlag, wie dieses Designverständnis auch für das Verständnis der Kunst fruchtbar gemacht werden kann.

Design steht seit seinen Anfängen immer wieder in der Kritik, entweder einer kapitalistischen Warenästhetik Vorschub zu leisten oder dem Selbstmissverständnis der Autonomie zu verfallen. Als Abkömmling der Industrialisierung und Zögling der freien Künste scheint es zwischen den Extremen einer Drapierung von Ingenieursleistungen oder dem kommerziellen Missbrauch von Kunstpraktiken zu schwanken, selbst innerlich zerrissen und ohne eigene Orientierung. Wenn bei Design also von Ästhetik die Rede ist, entsteht schnell der Eindruck, es mit bloßem Styling zu tun zu haben, sei es im Dienst einer Absatzsteigerung oder des symbolischen Kapitals.
Die Tagung möchte demgegenüber ausloten, ob und inwieweit die Ästhetik des Designs – jenseits der Alternative von Warenförmigkeit bzw. Styling und Autonomie – als eigene Form des Ästhetischen verstanden werden kann. Gegenüber der in der ästhetischen Tradition vorherrschenden Ausrichtung an der Kunst geht es der Tagung insgesamt darum zu fragen, was es heißen könnte, die Grundfragen und die Grundbegriffe der Ästhetik noch einmal aus dem Geiste des Designs neu und erneut zu denken. Dabei steht ein solcher Versuch nicht allein angesichts der jüngsten Entgrenzungstendenzen zwischen Kunst
und Design vor der Herausforderung, dass eine Ästhetik des Designs in irgendeiner Weise auch zur Ästhetik der Kunst in Beziehung gesetzt werden muss. Nicht zuletzt stellt sich dabei die Frage, was „Kritik“ mit Blick auf Kunst und Design jeweils heißen kann.

La comunicación no es lo que parece. M. Restrepo, 2020 1 LA COMUNICACIÓN NO ES LO QUE PARECE Una relectura de fondo Mariluz Restrepo • Resumen El artículo revisa el sentido profundo de la comunicación a partir de reflexiones etimológicas y filosóficas sobre lo que el término mismo entraña y lo que de ahí se desprende para asumir su valor como configuradora de nuestras formas de relacionarnos unos con otros y con el mundo. La argumentación entrecruzada de la autora con varios pensadores de diferentes corrientes desmonta el modelo de la comunicación como transmisión lineal y autoritaria y la sitúa en la fisura; es decir, en el 'entre' unos y otros donde se da la construcción, nunca terminada, de sentidos posibles. Las interpretaciones que surgen de estas reflexiones alientan la comprensión de nuestras prácticas cotidianas y plantean interrogantes para repensar la toma de decisiones de quienes realizan tareas comunicativas en el variado universo de las organizaciones sociales. Palabras clave: comunicación, filosofía, interacción humana, prácticas organizacionales. Communication Is Not What It Seems. Revisiting its Ground Abstract From etymological and philosophical perspectives, this article revisits the deep meaning of communication, taking into account what the word in itself implies to value how it shapes our ways of relating to one another and with the world. The author's arguments, intertwined with those of a variety of thinkers, dismantles the linear authoritarian transmission model of communication and places it in the gap, that is, in the in-between one and others where the endless construction of possible meaning takes place. The interpretations that arise from these thoughts encourage the understanding of our daily practices and open questions to rethink the decision-making of those who carry out communication tasks in the varied universe of social organizations.

This research is focused on aspects of the Process and Identification of Lkauer Crafts in Palembang, with the objectives being, 1) to support efforts to preserve the art of laker crafts in Palembang, 2) to find out the development of the design of the laker craft, 3) to find out the local cultural values contained in Palembang laker crafts, 4) to add insight and teaching materials to art and design lectures, especially DKV. The method used is descriptive qualitative method, with the method of collecting field observation data, which is to see firsthand the laker handicraft products in the craft center, and at the Bala Putra Dewa Museum in Palembang, the data collection method is also carried out by interviewing techniques and documenting the object research. The results of the data processing are the authors' analysis through the identification of problems encountered in the field. From these results the conclusions drawn by the author are summarized in the form of a draft strategy for the preservation of the laker craft. In addition to preservation efforts, the laker craft can also provide business opportunities and employment opportunities for the people of Palembang city, of course it cannot be separated from the assistance of the Regional Government in the form of training, workshops, capital assistance as well as providing a place for marketing. Abstrak Penelitian ini difokuskan pada aspek Proses dan Identifikasi Kerajinan lakaer di Palembang, dengan tujuan, 1) untuk mendukung upaya pelestarian seni kerajinan laker di Palembang, 2) untuk mengetahui perkembangan desain laker. kerajinan, 3) untuk mengetahui nilai-nilai budaya lokal yang terkandung dalam kerajinan laker Palembang, 4) untuk menambah wawasan dan bahan ajar untuk kuliah seni dan desain, khususnya DKV. Metode yang digunakan adalah metode deskriptif kualitatif, dengan metode pengumpulan data observasi lapangan, yaitu untuk melihat langsung produk kerajinan tangan di pusat kerajinan, dan di Museum Bala Putra Dewa di Palembang, metode pengumpulan data juga dilakukan oleh teknik wawancara dan mendokumentasikan objek penelitian. Hasil pengolahan data adalah analisis penulis melalui identifikasi masalah yang dihadapi di lapangan. Dari hasil ini, kesimpulan yang ditarik oleh penulis dirangkum dalam bentuk konsep strategi untuk pelestarian kerajinan laker. Selain upaya pelestarian, kerajinan laker juga dapat memberikan peluang bisnis dan peluang kerja bagi masyarakat kota Palembang, tentu saja tidak terlepas dari bantuan Pemerintah Daerah dalam bentuk pelatihan, workshop, bantuan modal serta menyediakan tempat untuk pemasaran.

Çalışma, tipografik ögelerin gazetelerin tanınırlık ve güvenilirliğine etkisine dair bulgular sunmaktadır. Araştırma, İngilizce ve Türkçe, seçilen bir dizi gazetenin karşılaştırmalı analizine dayalıdır. Amaç, tipografik tasarımın gazetenin mesajı üzerindeki etkisi ile ilgili bilgi edinmektir. Analizin birinci bölümünde, seçili gazeteler temel tasarım ilkeleri üzerinden değerlendirilmiştir. İkinci aşamada ise bir grup katılımcının seçili gazetelerin basılı ve çevrimiçi edisyonlarının kapak/indeks sayfalarını güvenilirlik ve tanınırlık açısından değerlendirmeleri istenmiştir. Bulgular tipografik tasarım ile gazetelere ilişkin güvenilirlik ya da ciddiyet algısı arasında kuvvetli bir bağ olduğu yönündeki düşünceyi desteklemektedir. Ancak bu bağ, gazetenin kimliği içerik üzerinden anlaşılamaz ise, daha güçlü ve belirgin hale gelmektedir. İngilizce gazeteler içerikleriyle daha uyumlu bir görsel kimlik oluşturmakta ve bunu çevrimiçi edisyonlarına aktarmakta daha başarılıyken, Türkçe gazetelerin ciddi olmayan gazetelere özgü bir görsel düzende anonimleştikleri görülmektedir.

This paper examines how collaborative practices in the secondary art and design classroom can be formulative in the sustainability of cultural beliefs, practices and heritage conservation. This research takes its point of departure from a culture of teaching and learning practices that feed the ideologies of the institution and entrench a whitewashed curriculum that favours westernised ideologies of arts and design practices. This paper draws upon my practice-research that investigates collaborative pedagogies in the curriculum and seeks to illuminate how micro-relationships within the classroom enable young artists, craftspeople and designers to look to one another to better understand a sense of themselves as active agents for change in the world, rather than passive receptors of the ideologies of the institution and the distribution of power. In this paper I will employ the Lacanian understanding of the other, and Rencier's Distribution of the Sensible to discuss how collaborative pedagogies enable the preservation of cultural sustainability not of the institution but of the learners.

The art and architecture of the Islamic world had a decisive impact on the development of decorative and fine arts from 1880 to 1945. Many leading artists and architects took inspiration from the rich Islamic language of forms and ornamentation. They were fascinated by the mathematical principles and unusual harmonies of colors in Persian miniatures and rugs, stained glass windows or Iznik tiles, and punched metal works and ceramics from the Near East, North Africa and Moorish Spain. While only some of them actually visited the Islamic world and studied its art and architecture in situ, many discovered it through exhibitions and publications. Following on from Paris (1893/1903), Stockholm (1897) and Algiers (1905), Munich set new standards in 1910 with the exhibition “Meisterwerke muhammedanischer Kunst” (“Masterpieces of Muhammadan Art”). Museums, art dealers and private collectors from a number of countries contributed some 3,600 works, including valuable carpets, ceramics, metalwork pieces and Persian miniatures. The exhibition marked a turning point not only for the academic studies of the time, but also in terms of the reception of Islamic arts. In the Western fine and decorative arts of the 19th century, the “Orient” conjured up motivic imagery heavily influenced by the colonialist perspective, whereas the artists of early Modernism investigated Islam’s stylistic devices in depth, transposing them to their own environment through a process of artistic internalization. In combination with their own traditions and their respective times, it was this very internalisation that instilled motivating creative processes, out of which artists developed countless new forms of expression.

The contributions in this volume approach these questions from different perspectives, considering theoretical and practical applications developed by western artists, architects and decorators and how Islamic art was considered as a model for the renewal of European arts at the turn of the twentieth century.

The author claims that modern culture has deviated away from the desire of impeccability and lost its interest in what is infallible. He attempts to answer the question why the distortions and flaws occupy a central position in the world of recent art and wants to analyse their role in shaping the image of modern reality. He finds the answers to these questions in late philosophy of Jacques Derrida, research under glitch studies (Rosa Menkman, Michael Betancourt) as well as the works of two contemporary visual artists: Andy Denzler and David Szauder.

2/2017 (193)

Der Vortrag geht der Frage nach, inwieweit es möglich ist, sich in aktuellen Umwelten handelnd als ästhetisches Subjekt zu realisieren. Der Fokus liegt dabei in mehrfacher Hinsicht auf Grenzgebieten: Zum einen stehen zeitgenössische ästhetische Praktiken im Fokus, die sich an den Grenzen von Kunst und Alltäglichkeit bewegen. Zum anderen wird spätmodernes Subjektsein selbst als etwas gefasst, das sich fortwährend an Grenzen entlang bewegt und dabei Polaritäten streift: zwischen innen und außen, Aktivität und Passivität, Produktion und Rezeption. Der Vortrag erkundet die Möglichkeiten, diese Parallelen für eine ästhetisch-ethische Konzeption praktischer Subjektivität zu nutzen.

The arts in education can do more to develop dispositions for success and socially responsible action in our
future artists, innovators, and leaders of tomorrow. In order to be a highly effective teacher-leader of art and design, it is
proposed that the development of creativity and innovation must be balanced with analytical thinking and practical
wisdom. Twenty-first century learning demands that teachers become designers of classroom environments and curricula
that enable students to develop their full capacities as human beings, while tapping into a balance of their creative,
analytical and practical entrepreneurial skills and mindsets. Artist-teacher-leaders must also capitalize on students’
abilities for connection making, inquiry, and self-direction to foster their future social-emotional strengths and
dispositions. When more focused on the development of students’ creative process skills and responsibility, art and
design education may be better positioned to foster empathic, interdisciplinary 21st-century skills and habits of mind
success. In this aim, the marriage of design thinking strategies and learner-centered pedagogies serve as catalysts of
change in the visual arts. This paper reports on research and theoretical frameworks of successful intelligence and
balanced intelligence that support innovative and currently implemented programming in a U.S. undergraduate and
graduate teacher training program.

La intención de este trabajo es explicar los movimientos artísticos conocidos como Informalismo y Expresionismo Abstracto a través de las obras de Wols y de Willem de Kooning, indagando someramente en las trayectorias e influencias de estos artistas.
Aunque ambas tendencias nacen en continentes distintos es posible encontrar puntos de confluencia y divergencia entre ellos.

www.NEXT.cc, an art + design + environment eco web, introduces what design is, what it
does, and why it is important to the design denied public. www.NEXT.cc connects personal choices with local place based information, object, experience, and environmental design activities linked withglobal museums, institutions,and contemporary practices effectively changing consumers into creators.

Children, teachers, and families access the world of ideas and innovation through writing, speaking, drawing, graphics and modeling moving between computer, community and the world. www.NEXT.cc’s three hundred+ journeys/five thousand+ resources/one million+ users find consilience of scales- nano, pattern, object, space, architecture, neighborhood, urban, regional, and global. Eco web learning grows a community of eco literacy connections expanding opportunities for our sustainable future.

Keywords: Design, Design Thinking, Design Education, Design Economy, Digital Literacy, Ethical Imagination, Creativity, Sustainability, K12

If language does not merely communicate information, but defines reality, then how does musical discourse construct and mediate reality? Here, we work toward the development of a missiological framework for theological creativity to explore the creative processes of Indigenous Cosmopolitan Musicians (ICMs) as they participate in the creativity of God for mission.

Folder en wandelkaart gerealiseerd naar aanleiding van Erfgoeddag 2021. Ronse beschikt over een aantal straten uit het interbellum die op heel korte tijd werden volgebouwd en die een vrij homogeen straatbeeld vertonen (Fostierlaan, Gefusilleerdenlaan, Léopold Sturbautstraat, Pierre D'Hauwerstraat en Hermes Van Wynghenestraat). Ook verspreid in de stad was er heel wat (ver)bouwactiviteit in de jaren 1920-1930-1940. Een eerste bouwpiek situeerde zich tussen 1925 en 1930. De grootste bouwactiviteit was echter zichtbaar aan het eind van de jaren 1930, met een uitloper in het begin van de Tweede Wereldoorlog. Het interbellum was een economische bloeiperiode voor de stad, veroorzaakt door de boomende textielindustrie. De economische voorspoed werd door veel Ronsenaars veruitwendigd door fraaie smeedijzeren deuren en hekken die aan de (bestaande) woningen werden aangebracht.

"Las cosas de perfección no hay que mirarlas con prisa sino con tiempo, juicio y discernimiento. Juzgarlas requiere el mismo proceso que hacerlas" NICOLAS POUSSIN, pintor, 1642 (1) A la hora de pensar en el concepto de arte y sobre todo ante el reto como profesor de impartir una materia relacionada con el tema en la carrera de diseño industrial me topé con la incerteza de saber cómo aproximarme a los conceptos básicos, a los exponentes, técnicas, materiales que explicaran la importancia del arte y sobre todo, cómo generar un auténtico interés sobre el tema. Si bien es cierto que la tecnología actual aporta herramientas que facilitan en gran medida no solo la búsqueda de información sino también el acercamiento a museos, galerías, documentales o visitas virtuales, la fascinación y gusto por el arte no es algo que pueda enseñarse en un manual y sin embargo, no por ello, estimo que sea algo imposible de inspirar. A lo largo de un par de cuatrimestres me di la tarea de conversar con alumnos de distintos niveles académicos y en diversas materias universitarias en los que tocamos temas afines al arte; gracias a este intercambio de ideas me he encontrado con opiniones bastante interesantes y siempre válidas en cuanto a la expresión de un punto de vista subjetivo. Mi propósito al escribir este ensayo es esencialmente hacer una especie de resumen a modo de reflexión de todos estos puntos convergentes o divergentes con los que me he encontrado dentro y fuera de un salón de clase e invitar a todo aquel que ha tenido interés o mera curiosidad en el arte, a disfrutar más allá de acumular información histórica y a deleitarse con el tipo de arte u obra que más le estremezca en el mejor sentido de la palabra.

Some research has discussed the Composition Aesthetics and the layout problems of graphic design. In Lebanese higher education, graphic design students face difficulty in applying the elements of design and the principles of design in their artwork. Graphic design students are not well introduced to the Golden Ratio grids which stand as important tools for solving layout problems. Another problem is that teaching the Golden Ratio has been mildly integrated in the Lebanese higher education curriculum. The dissertation examines the effect of Golden Ratio on enhancing the composition of both Balance and Aesthetics and sheds light on the difference between the Rule of Thirds’ grid and the Golden Ratio grids in high education graphic design sophomore classes in one public and one private university along three academic years. The dissertation includes three research studies: The Experimental Design, the Randomized Design or the Correlational Design, and the Comparative Design. The first two studies included the four-group Solomon design. Sophomore graphic design students were the participants of the three studies, and three educators were the participants in both public and private universities in studies two and three. Four instruments were used to collect data: non-participant classroom observations were the instrument used in the three studies, pretest – intervention – posttest was used in study one, Evaluation Table of the principles of design and elements of abstract design (patterns, colors of black and white, lines, forms) was used in study two, Evaluation Table of the principles of design and elements of abstract or non-abstract design (patterns, color, lines, forms) was used in study three. Findings showed that the use of the Golden Ratio grid better enhanced the Aesthetic and Compositional Organization Criteria than the use of the Rule of Thirds’ grid in both public and private universities in studies one and two. Besides, the Aesthetic Criterion was performed more effectively according to the Rule of Thirds, and the Compositional Organization Criterion was more effective according to the Golden Ratio in both public and private universities in study three. The academic limitations of the findings are stated. Recommendations for continual use of the Rule of Thirds and the integration of the Golden Ration grids in the Lebanese higher education graphic design curriculum are suggested.

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

For years artists have held the middle class in disdain.  In the past century in France, art klatches known as cénacles were held together by “… that merry battle spirit we have all come to know and love: épatz la bourgeoisie, shock the middle class.”

Medya, gelişen yeni iletişim teknolojileri ile toplumsal yaşam içinde vazgeçilmez bir unsurdur. 2020 yılı içinde yaşadığımız Covid-19 salgını nedeniyle gündelik yaşam pratiklerindeki dönüşüm, medyanın önemini artırdı. Distopik bir dünyanın içinde yaşadığımız hissini veren salgın döneminde, geleneksel veya yeni medya araçları, sosyalleşmenin başat bir unsuru haline geldi.
Elinizdeki kitap, günümüzde, hem küresel hem de ulusal boyutta enformasyon sağlayıcısı olan medyanın, iletişim çalışmaları dışındaki farklı disiplinlerin bakış açısıyla değerlendirilmesi fikrinden yola çıktı. Bu amaçla felsefe, resim, görsel iletişim tasarımı, gazetecilik, radyo, televizyon ve sinema gibi farklı disiplinlerin medya okumalarına odaklandı. Bu bağlamda kitap, medyanın felsefi boyutu, 2016 ABD Başkanlık seçimlerinin Türk basınına yansıması, medyanın egemen iktidar yapılarına karşı direnmenin bir aracı olma potansiyeli ve hacktivizm, sanat yapıtlarının medya nesnesi haline gelmesi ve estetik değerlerin metalaştırılması, mobil uygulama tasarımları üzerine öneriler, Vietnam, İrlanda örnekleminden hareketle toplumsal cinsiyet öğelerinin sinemada temsili, sinema filmlerinde rengin önemi ve kullanım biçimleri ile sinema salonlarının geleceğini inceleyen çalışmaları içermektedir... (Arka Kapaktan)
I. BÖLÜM: MEDYA, ETİK, TEMSİL
Günümüzde Sosyal Medyanın  Sosyolojik, Psikolojik ve Felsefi Boyutlardaki Etkileri
Nur Yeliz Gülcan
Trump ve Diğerleri: Türk Yazılı Basınında 2016 ABD Başkanlık Seçimleri – Fatma Gürses
Dijital Aktivizmin Olanakları ve Sınırlılıkları Bağlamında Hacktivizm – Özlem Çetin Öztürk
II. BÖLÜM: SANAT, TASARIM
Göstergeler Bağlamında Sanat ve İletişim – Yıldız Doyran-Özkan Işık
Mobil Arayüz ve Kullanıcı Deneyimi Tasarımlarının Kullanılabilirliğe Etkileri –Tevfik Altan Doyran-Kaan Atila Işık
III. BÖLÜM: SİNEMA
Sinema, Bellek, Politika: Noble Filminin Toplumsal Cinsiyet Bağlamında Analizi – Fatma Gürses
Sinemada Görsel Estetik Bir Öğe Olarak Rengin Kullanımı: Büyük Budapeşte Oteli Filmi Örneği – Gülizar Öztürk
Sinema Salonlarının Geleceğine  Gazeteler Üzerinden Bir Bakış – Fehime Elem Yıldırım

Why would I embark on designing an Electric Upright Bass? Because the advent of CAD-CAM and the affordability of CNC Routers makes it possible for someone with industrial design skills. Luthier (musical instrument making) used to be limited to the realm of master craftsmen. That is no longer the case.

FOR MORE INFORMATION PLEASE VISIT: www.BerlezBass.com

In the previous chapters I tried to map the complexity of the seminal concept of autonomy in visual art. Although the concept cannot be defined precisely, it nonetheless brought about a rupture in the 19th century that continues to play a significant role today. It’s influence on the playing field of the visual arts has been so great that, in a sense, artists and viewers have themselves become autonomous. It would be no exaggeration to say that we, people of the 21st century, have become autonomy’s international children. This means that like all other cultural phenomena, this autonomy constantly shifts and changes with the times. I consider these concepts in this literature review.

Autonomy is often believed to mean that, following in the footsteps of the ready-made in the early 20th century, a kind of ‘anything goes’ attitude applies to the artist. Anything’s possible as long as the work bears the signature of a professionally trained artist. The artist can do whatever he or she likes. For a time this was fun and exciting, but a hundred years on, it has its limitations.

It is refreshing to discover that in the previous century, in the 1800s, Eduard Manet encouraged likeminded artists to reject the academic rules. The role of the well-to-do bourgeoisie and its veneration of the glories of the past, was over. I explore this rather lengthy process before and after 1900 in the introduction.

In chapter 1, I describe the first moment in history when the imageless culture, the religious ban on the production of images, becomes diametrically opposed to the narrative about reality. With all the resulting polemical and political or religious consequences that entails. At the time, the autonomy of art and the artist had not yet appeared on the scene. Although the conceptuality that accompanied the narrative visual culture was. After all, the iconodules manage to depict something like ‘redemption’. This is exactly what it was all about: representing abstract concepts.

But it’s interesting to see that, since this point in history iconoclasm has frequently re-emerged. I talk about the iconoclasm of 1566, the modernism that first made images crumble and then disappear, and the hyper-conceptuality of current art, particularly media art, that we see at major international art events. I describe this in Chapter 2.

Chapter 3 deals with the drive that, in the 19th century, outstripped the concept of autonomy. Namely, the artist’s desire to be of his own time. The Il faut être de son temps liberated the artist from financial dependence on the established order, the well-to-do bourgeoisie, for good. Chapter 4 touches on key philosophical considerations of the present as an abstract concept. What do we mean by contemporary? What do artists mean by it? How do these views of the present impact our understanding of the concept of autonomy in art?

In chapter 5, I discuss the idea of freedom in art, which ties in with the concept of artistic autonomy. Is autonomous contemporary art really free? And if so, what is it liberated from?
Little by little we see how politically charged the notion of autonomy really is, look at capitalism’s penetration of the arts, and consider the extent to which the colonial past echoes throughout art history. History turns out to be a hymn to the West, and shows an utter disregard for the international world as a whole. And artistic autonomy is shown to involve a subtle form of exclusion of non-Western art. These are the themes I try to address in Chapters 6 and 7.

In writing this essay, I look back on a period in which the academy exempted me from my teaching duties so that I could work undisturbed on a topic that is close to my heart: the future of the visual arts as a vital factor for spiritual well-being worldwide.
I would also like to give my thanks to my husband, Rachid. Born and raised on Curaçao, of Indian, Basque and Latin American heritage he, in combination with his experience as a university lecturer, opened my eyes to other horizons.
Having these opportunities gave me enormous motivation, for which I’m extremely grateful.

This book is a collection of one hundred and twenty-three statements and thoughts from across twenty-one years. In them the author reflects on aspects of his artistic journey, offering a personal account of the importance of memory, intention and place, and of a material and temporal understanding of both the practice and object of painting. The statements themselves fall, for the most part, into two categories. More than a quarter have been used as exhibition materials, appearing in catalogues, on websites, gallery notice boards or in publication. The rest come as studio jottings; as private observations penned in notebooks. Collectively, these thoughts serve to explain, extend or parallel the author’s work as a painter. The book contains a foreword by Dr Michael Belshaw. In it he considers the notion and particularity of the artist statement itself, the broader trajectory of thinking in respect of several consistent themes, approached and revised over the course of the writings – including representation, surface, subject, process and narrative – and distinctions between public and private utterances. In addition, the work contains an introduction by the author and a glossary of terms.

Students sometimes enter higher education unprepared. This guide presents actionable strategies for reading, writing, studying, building relationships, and meeting instructors' expectations so that students are able to avoid the pitfalls that commonly prevent academic success.